By Kathryn Olsen
Utah Shakespeare Festival‘s open-air Engelstad Shakespeare Theatre in Cedar City always invokes a sense of high drama, making it the perfect setting for this year’s production of William Shakespeare‘s Macbeth. Thought to have first been performed in 1606, this tragic drama has been performed world-wide. Some of the most renowned actors have appeared in these productions, but it was also adapted into a five-actor abridgment so that citizens in Soviet-controlled Prague could experience it at home. This tale of a Scottish king has also been retold as a samurai film and adapted into the Punjabi language. Because of various superstitions, it is even considered to be unlucky. My last experience seeing the play was this festival’s 1996 production, so I looked forward to a new production.
The play opens with Macbeth (Wayne T. Carr) being hailed as a war hero. He is greeted by name and title by three witches (Sarah Hollis, Emma Geer, and Betsy Mugavero) who also promise him future titles. He is troubled by these portents, but once their first prophecy comes true, he informs Lady Macbeth (Katie Cunningham) and she persuades him to take destiny into his own hands by killing the king in his own home. Macbeth and his Lady fear being discovered for their crimes, leading to further atrocities. The guilt and fear exact a terrible price on both of them, while the repercussions of their actions lead to war.
The three witches are often referred to as a collective and this production drives that point home as they often seem to be speaking as a hive mind and finish each other’s words or sentences. Director Melissa Rain Anderson has rooted this production in a heightened awareness of supernatural traditions in Scotland as well as Elizabethan superstitions and the performances of Hollis, Geer and Mugavero are as unearthly as they are riveting.
Cunningham likewise blurs the line between cultural norm and occult practice. She transforms an early soliloquy into an ambitious incantation, even casting a conjuring circle. This cho(ice serves to create a wonderful bit of uncertainty about the driving forces behind the plot. She is most captivating when either invoking or challenging gender roles.
Banquo’s (Todd
Denning) role calls to mind that of Shakespeare’s Caesar, who
presides in death over many scenes. Denning’s comradely chemistry
with Carr foretells his spectral influence over Macbeth after his
demise. Denning strikes a masterful balance between a peace-loving
father and a conquering hero.
Carr last appeared at this festival as Othello. His casting as another man who drives himself to madness through rash choices is most appropriate. He radiates confident determination that is essential in the fulfillment of destiny, but his quieter moments of doubt or remorse are no less powerful.
Macduff (Michael Elich) has the smallest of the principal parts, but is one of the most compelling figures. He first appears as decisive and stalwart, but within minutes, he is isolated in grief and this striking metamorphosis is an appropriate break in the story’s flow. Elich fuses these states so the performance never feels overly reactionary.
The more minor characters are most effective in conveying a sense of urgency. There are times when the Porter (Armin Shimerman) lumbers drunkenly to answer a knock on the door or guards banter easily with their lord; these are set as a stark contrast to the scenes in which characters are scrambling down staircases or fleeing up the aisles of the theater. The director’s choice to use several children in the foreground or background of the action conveys innocence or helplessness.
Scenic Designer Apollo Mark Weaver‘s Scottish setting is geared towards a state of decay and imbalance, whether with off-kilter crossbeams or trees that shed their leaves at significant moments and the dais that acts as cauldron, castle court, and conjuring circle is ingeniously used. The lighting design by Michael Pasquini appropriately emphasizes the theme of blood. Costume Designer David Kay Mickelsen provides garb that is elaborate, but era-appropriate, and hints at intentions and allegiances. Music Director Brandon Scott Grayson and Sound Designer/Original Music Composer Lindsay Jones collaborate to heighten tensions, while Fight Director Paul Dennhardt ensures that the tensions are visually riveting.
The Scottish play is running all summer long and is well worth watching soon and often. So screw your courage to the sticking place and join the Utah Shakespeare Festival for an unforgettable night at Dunsinane. This play is appropriate for pre-teens or older, but include lewd humor, and bloodshed as well as onstage physical violence that may render it disturbing for some viewers.
Utah Shakespeare Festival Presents Macbeth, By William Shakespeare.
Engelstad Shakespeare Theater 200 Shakespeare Ln, Cedar City, UT 84720
Jun 27-Sep 6, 2019 8:00 PM
Tickets: $20-74
Contact: 800-752-9849
Utah Shakespeare Festival Facebook Page
Macbeth Facebook Event
0 Comments